As his story advances, various aspects signify his traditional epic heroism through the possession of unique capabilities, esteem for his accomplishments. Besides being the King of Uruk, a third of himself is a man, while the other is gods, thereby taking considerations as the strongest being worldwide. As his story progresses, Gilgamesh epic heroism is seen in his braveness, architectural ambitions and as a great warrior (Gale, 2017). For example, countless times, he indulges in the establishment of massive walls around his empire as a form of security. He further accomplishes erections through the building of magnificent ziggurats.

Similar to the customary epic idols, Gilgamesh identifies himself as a figure embarking on plentiful quests to accomplish. At the start of the tale, Gilgamesh seems to be an individual whose primary emphasis is to bed every newlywed in his empire, afore her consummation of the marriage. According to research, such an act best fit the description; “right of the initial night.” However, when Enkidu contests Gilgamesh to a duel, he eventually shifts his attention towards the achievement of tremendous feats(Sherratt & Bennet, 2017). As the story advances, he opts to limit his desire upon naïve pleasures. He portrays this heroic act through commencing a true companionship with Enkidu.

Gilgamesh heroic act is also evident from an ‘a divine birth’ perspective. The story starts with commendations for his past accomplishments. He utters his desire to proclaim to all his heroic deeds. The narrator proceeds on recommending that the downfall of the brick walls as well as to the masonry, are of extraordinary brilliance, but only from Gilgamesh’s efforts(Sherratt & Bennet, 2017). We learn this as an instance of a crucial fact, and the gateway to the particular adventures and endeavors by the heroic figure himself. Despite the deeds as mentioned above, Gilgamesh only fear is that he has an obligation of facing mortality, due to his human heritage.

He also attributes his heroic deeds on his return journey home. During the trip, he halts at a bath to cool down himself. However, a crooked serpent makes away with his herbs. It thus forces him to go back home, with a primary focus of letting known that he is immortal just like the rest. Such an act tends to content with his immortality endeavors as the leader of Uruk(Sherratt & Bennet, 2017). By accepting his immortality, it is a significant attribution towards the overall greatness of his empire. He finalizes this by availing himself at the customary ultimate invention. Through his persistent past grief and dissatisfactions, and emphasizing on the desires of his people, makes Gilgamesh not only to triumph but befits him as an even decent sort of Superman.

Above all, it is love and friendship that influences a significant share of Gilgamesh’s epic heroism. At the beginning of the story, one would describe him as being more of a tyrant king who countlessly horrifies the well-being of Uruk livelihoods (Gale, 2017). But then, only after his encounter with Enkidu that he opts to shape his desires and lead more of a transformative life.

As a result of the transformative impact, Enkidu contributes a lot towards assisting Gilgamesh to overcome his fears on immortality. Therefore, one can tell that it is the existence of the spiritual love between the two birds that contributes Gilgamesh transform into a better king. He shifts his evil desires towards his people by permitting his identity amongst them, thereby achieving a sort of familiarization with his people (Sherratt & Bennet, 2017). In considerations in tandem with the subject of death in the story, friendship and love do not portray as part of day-to-day life, but as an essential aspect that provides existence meaning.

References

Gale, C. L. (n.d.). (2017) Study guide for the epic of Gilgamesh. Detroit: Gale, Cengage Learning.

Sherratt, S., & In Bennet, J. (2017). Archaeology and Homeric epic.

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